Maria Popczyk | University of Silesia in Katowice (original) (raw)
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Books & edited Vols. by Maria Popczyk
Prezentowany tom ma służyć przemyśleniu relacji człowieka do przyrody w kontekście badań podejm... more Prezentowany tom ma służyć przemyśleniu relacji człowieka do przyrody w kontekście badań podejmowanych obecnie w wielu dziedzinach i w dużej mierze powiązanych z praktyką artystyczną. Prezentowane spektrum możliwych interpretacji nie dostarcza konkluzji dającej satysfakcjonujący obraz całości, raczej pokazuje wielowymiarowy i niejednorodny projekt przyrody kulturowo zwielokrotnionej; pozwala to na szerszą dyskusję nad uzależnieniem człowieka od przyrody (ciągle wzmacnianym przez technologię). Z jednej strony przyroda jawi się nie tylko jako wytwór człowieka dysponującego nowymi technologiami, ale również jako twór powoływany do życia przez działania społeczne. Z drugiej strony jednak nadal aktualne i wymagające rozpatrzenia pozostaje stare odróżnienie przyrody, przedmiotu manipulacji, od natury, siły działającej niezależnie od ludzkiej woli. Wszystkie podejmowanie w tomie wątki odsłaniają kulturowe uwikłanie człowieka w sprawy przyrody, którą sam jest i którą zmienia. Badanie przyrody okazuje się badaniem nas samych.
Papers & Chapters by Maria Popczyk
ABStrACt In this paper, I am predominantly interested in interpretations of emotional states port... more ABStrACt In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver messerschmidt, as well as those which attempt to expound Bill Viola's video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what hap‑ pens to the body while a person is experiencing an emotion. my aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body.
Into the Noise Anthropological and Aesthetic Discourses in Public Sphere, A. Kunce, M. Popczyk, 2013
ARGUMENT: Biannual Philosophical Journal Art Inquiry, Vol.2, no.2,, 2012
In this article I follows different types of aesthetic fear, that is an anxiety induced by a wor... more In this article I follows different types of aesthetic fear, that is an anxiety induced by a work of art, from aesthetic and anthropological perspectives. I interested in haw fear and pleasure are related in the catharsis, in Edmund Burke's notion of sublime, in Goya's Black Paintings, as well as in the thought of Paul Virilio. The aesthetic fear appears together withe other feelings (such as pity or sadness), and primarily together with pleasure, which then is either autonomous or is born from a fascination with evil.
In this article I follows different types of aesthetic fear, that is an anxiety induced by a wor... more In this article I follows different types of aesthetic fear, that is an anxiety induced by a work of art, from aesthetic and anthropological perspectives. I interested in haw fear and pleasure are related in the catharsis, in Edmund Burke's notion of sublime, in Goya's Black Paintings, as well as in the thought of Paul Virilio. The aesthetic fear appears together withe other feelings (such as pity or sadness), and primarily together with pleasure, which then is either autonomous or is born from a fascination with evil.
The concept of freedom, although not explicit in the definition of the museum, is expressed throu... more The concept of freedom, although not explicit in the definition of the museum, is expressed through the principle of the general public having free access to the artistic achievements of various historical eras and cultures, gathered and analyzed by academics. These obvious facts effectively conceal the areas of enslavement, to which both works of arts and the public are subjected, since the dialectics of freedom and violence is inherent in the museum practice.
Works of art embody the act of unrestrained creativity, which is eradicated by the removal of works from their original context, their uprooting. It is, however, the violence of uprooting that makes it possible to invest works with stylistic features and aesthetic value. Another type of violence is the violence of exclusion, which entails the selection of particular works in order to promote ideological or political goals, fundamentally alien to art. The most radical form of violence is the actual physical destruction of works. The mechanism of symbolic violence, as described by Pierre Bourdieu, involves the public who willingly conforms to the disciplinary procedures as long as they guarantee the inclusion in the elite circle of art-lovers.
Since the end of the 20th century, the museum has undergone a profound transformation and become open to the multitude of artistic and cultural discourses. It does not mean, however, that it has become the space of unrestrained freedom of artistic expression and public reception, but that the freedom and violence within the museum have assumed different forms. Museum directors, who guard the general ideas, still methodically foster injustice, as Lyotard points out. New elements emerge thanks to the artists who deconstruct the exhibition space, take the viewer by surprise or even go as far as oppressive action.
Dylematy wielokulturowości, ed. R. Kalaga, , 2004
![Research paper thumbnail of Fire [in] Aesthetic of the Four Elements: Earth, Water, Fire, Air, ed. K. Wilkoszewska, (pp. 185-270)](https://attachments.academia-assets.com/37378614/thumbnails/1.jpg)
](Covers by Maria Popczyk
Papers by Maria Popczyk
In this paper, I will examine the aesthetic implications of the theories which regard the city as... more In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the 'image'; namely, an empirical approach and a phenom‑ enological one. I am interested in what the city becomes when it is looked upon as an image and I will reflect on the experiences of the city ‑image in its various aspects. The aim of this discussion is an attempt to outline certain research areas for exploring the aesthetics of the city centred on the image, with the practitioners' theories enabling us to widen the scope of this exploration.
Przestrzenie Teorii, 2015
Prezentowany tom ma służyć przemyśleniu relacji człowieka do przyrody w kontekście badań podejm... more Prezentowany tom ma służyć przemyśleniu relacji człowieka do przyrody w kontekście badań podejmowanych obecnie w wielu dziedzinach i w dużej mierze powiązanych z praktyką artystyczną. Prezentowane spektrum możliwych interpretacji nie dostarcza konkluzji dającej satysfakcjonujący obraz całości, raczej pokazuje wielowymiarowy i niejednorodny projekt przyrody kulturowo zwielokrotnionej; pozwala to na szerszą dyskusję nad uzależnieniem człowieka od przyrody (ciągle wzmacnianym przez technologię). Z jednej strony przyroda jawi się nie tylko jako wytwór człowieka dysponującego nowymi technologiami, ale również jako twór powoływany do życia przez działania społeczne. Z drugiej strony jednak nadal aktualne i wymagające rozpatrzenia pozostaje stare odróżnienie przyrody, przedmiotu manipulacji, od natury, siły działającej niezależnie od ludzkiej woli. Wszystkie podejmowanie w tomie wątki odsłaniają kulturowe uwikłanie człowieka w sprawy przyrody, którą sam jest i którą zmienia. Badanie przyrody okazuje się badaniem nas samych.
ABStrACt In this paper, I am predominantly interested in interpretations of emotional states port... more ABStrACt In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver messerschmidt, as well as those which attempt to expound Bill Viola's video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what hap‑ pens to the body while a person is experiencing an emotion. my aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body.
Into the Noise Anthropological and Aesthetic Discourses in Public Sphere, A. Kunce, M. Popczyk, 2013
ARGUMENT: Biannual Philosophical Journal Art Inquiry, Vol.2, no.2,, 2012
In this article I follows different types of aesthetic fear, that is an anxiety induced by a wor... more In this article I follows different types of aesthetic fear, that is an anxiety induced by a work of art, from aesthetic and anthropological perspectives. I interested in haw fear and pleasure are related in the catharsis, in Edmund Burke's notion of sublime, in Goya's Black Paintings, as well as in the thought of Paul Virilio. The aesthetic fear appears together withe other feelings (such as pity or sadness), and primarily together with pleasure, which then is either autonomous or is born from a fascination with evil.
In this article I follows different types of aesthetic fear, that is an anxiety induced by a wor... more In this article I follows different types of aesthetic fear, that is an anxiety induced by a work of art, from aesthetic and anthropological perspectives. I interested in haw fear and pleasure are related in the catharsis, in Edmund Burke's notion of sublime, in Goya's Black Paintings, as well as in the thought of Paul Virilio. The aesthetic fear appears together withe other feelings (such as pity or sadness), and primarily together with pleasure, which then is either autonomous or is born from a fascination with evil.
The concept of freedom, although not explicit in the definition of the museum, is expressed throu... more The concept of freedom, although not explicit in the definition of the museum, is expressed through the principle of the general public having free access to the artistic achievements of various historical eras and cultures, gathered and analyzed by academics. These obvious facts effectively conceal the areas of enslavement, to which both works of arts and the public are subjected, since the dialectics of freedom and violence is inherent in the museum practice.
Works of art embody the act of unrestrained creativity, which is eradicated by the removal of works from their original context, their uprooting. It is, however, the violence of uprooting that makes it possible to invest works with stylistic features and aesthetic value. Another type of violence is the violence of exclusion, which entails the selection of particular works in order to promote ideological or political goals, fundamentally alien to art. The most radical form of violence is the actual physical destruction of works. The mechanism of symbolic violence, as described by Pierre Bourdieu, involves the public who willingly conforms to the disciplinary procedures as long as they guarantee the inclusion in the elite circle of art-lovers.
Since the end of the 20th century, the museum has undergone a profound transformation and become open to the multitude of artistic and cultural discourses. It does not mean, however, that it has become the space of unrestrained freedom of artistic expression and public reception, but that the freedom and violence within the museum have assumed different forms. Museum directors, who guard the general ideas, still methodically foster injustice, as Lyotard points out. New elements emerge thanks to the artists who deconstruct the exhibition space, take the viewer by surprise or even go as far as oppressive action.
Dylematy wielokulturowości, ed. R. Kalaga, , 2004
In this paper, I will examine the aesthetic implications of the theories which regard the city as... more In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the 'image'; namely, an empirical approach and a phenom‑ enological one. I am interested in what the city becomes when it is looked upon as an image and I will reflect on the experiences of the city ‑image in its various aspects. The aim of this discussion is an attempt to outline certain research areas for exploring the aesthetics of the city centred on the image, with the practitioners' theories enabling us to widen the scope of this exploration.
Przestrzenie Teorii, 2015